on life, music etc beyond mainstream

2014 8 Aug

To Catch A Thief

von: Manafonistas Filed under: Blog | TB | 1 Comment

Viele von uns kennen die deutsche Fassung von Hitchcocks Film „Über den Dächern von Nizza“. Nun war es ein grosses Vergnügen für mich, den Film mit den Originalstimmen zu hören, und das macht einen Unterschied. Ich habe gemerkt, wie manche Filme, die man früher sah, über Jahrzehnte ihren Zauber verloren haben, andere wiederum ein zweites, drittes, viertes Sehen heil überstanden. Wenn auch die Faszination des ersten Sehens nie mehr erreicht wurde, ist es immer noch eine Freude, manchen „Dauerbrennern“  der eigenen Filmgeschichte  wieder zu begegnen. Ich empfehle also diesen Hitchcock-Film aus der Mitte des letzten Jahrhunderts. Auch die deutsche Fassung, selbst diese Synchronstimmen sind einem damals ein wenig ans Herz gewachsen. Peter Bradshow bringt einiges auf den Punkt in seiner pointierten Analyse … (me) 


Hitchcock’s superbly insouciant crime caper from 1955 must surely be one of the last movies in which the American super-rich are indulged so extravagantly and adoringly – the kind of people who stub their cigarettes out in fried eggs.

The south of France is resplendent in all its cynicism and discretion. Diamonds are what the movie worships amid the sapphire-blue of the Mediterranean and cloudless skies; Hitchcock wittily begins by disrupting those tourist images with a scream of horror from a woman whose valuables have been swiped.

Cary Grant is John Robie, the reformed cat burglar living quietly on the Côte d’Azur, under suspicion for carrying out a spate of daring jewel thefts in Nice and Cannes. He can only clear his name by collaring the real culprit – and while on this person’s trail, he encounters the beautiful heiress Francie: the stunningly ice-blond Grace Kelly, pampered, bored and turned on by John’s reputation.

Her own jewels are glittering symbols of sexual unavailability, and there is something almost outrageously metaphorical in their verbal fencing in her suite at the Carlton hotel, as the fireworks explode outside. Francie finds something inauthentic in Robie: „like an American in an English movie“. Well, yes, perhaps. But Grant’s debonair and oddly unlocatable mid-Atlantic identity is absolutely right for the part.



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1 Comment

  1. Michael Engelbrecht:

    I saw this film at an open-air screening in front of Hamburg Town Hall last night. The (nearly) a full moon illuminated the scarce patches of low cloud while the rest of the sky remained clear and twinkly. The air was warm, the audience was friendly and appreciative, sharing wine, snacks and even blankets that they had brought along with them. I was with a very dear friend.
    Of course, the plot was probably written on the back of a Gauloises packet but that didn’t seem to matter last night. The direction is rather conservative for Hitchcock film, although I did enjoy the way the fireworks were employed to denote rising sexual tension. From the impeccable Mr Grant and the truly breathtaking Miss Kelly to the stunning locations, costumes and flowers, the film is really just an excuse for a photographic orgy. The perfect film for a warm summer evening.
    Afterwards, my friend and I sat looking at the ships in the harbour while we talked and drank another bottle of wine until 3am. This is what summer should always be like. Thank you Hamburg! Thank you Alfred!

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